What an interesting task: to comment briefly, from my current perspective, on the state of music journalism in America and its impact on the community. When I was working in the trenches—i.e., as the chief music journalist for the Cincinnati Post (1974-78), the St. Louis Globe-Democrat (1978-83), and the St. Louis Post-Dispatch (1983-94)—I pondered this […]
Photo by Stacy Garrop Music critics have a difficult job. At a time when major newspapers and magazines are severely cutting or eliminating coverage of classical music, they have to sift through the mountain of press releases, complimentary CDs, and calls from publicists and decide which ones are covered, which are not. Eighteen years ago, […]
Photo by Christian Steiner Art criticism belongs to the business of journalism. Journalism is supposed to be clear, accurate, researched reportage. In order to be able to report what happened at a premiere, the reporter must be able to differentiate between what the composer wrote and what the performer(s) played. The only way to do […]
Photo by Josh Mitchell The saddest thing in musical America today is that we are the only century in history in which the past takes precedence over the present and where performers take precedence over the music they perform. A performer of my age and reputation earns in one evening what I earn in a […]
Dean SuzukiPhoto by Ryan Suzuki Last month I offered a broad survey of sound sculptures, invented instruments, their creators, and role in modern music. In this column, I will take a closer look at a single work focusing on newly invented instruments: Paul Dresher‘s Sound Stage—an interdisciplinary music theater piece performed by Zeitgeist, the new […]
Greg Sandow Warwick, NY: When you read this, it’ll be around Labor Day, time for going back to school, for work, for the concert season, and for other urban pursuits. But I’m writing in the country, on an August night, the air thick with the buzz of insects. So I thought I’d say goodbye to […]
A bias against the word “critic”.